© , Vico Films, Screen Australia, Film Festival 2018 Starring

LAURA TYLER JIM MARTY DERMOT MURPHY JEAN AMY MOLLOY JULIAN KWAKU FORTUNE MAUREEN OLWEN FOUÉRÉ BILL PAT SHORTT

Key Credits

PRODUCERS SARAH BROCKLEHURST REBECCA SUMMERTON CORMAC FOX SCREENPLAY BY EMMA JANE UNSWORTH BASED ON A NOVEL BY EMMA JANE UNSWORTH DIRECTED BY SOPHIE HYDE DIRECTOR OF PHOTOGRAPHY BRYAN MASON PRODUCTION DESIGNER LOUISE MATHEWS COSTUME DESIGNER RENATE HENSCHKE EDITOR BRYAN MASON COMPOSER JED PALMER & ZOË BARRY CASTING DIRECTOR SHAHEEN BAIG Technical Specifications

RUNTIME 109 MINUTES COLOUR COLOUR ASPECT RATIO 2.35 SHOOTING FORMAT 3.2K CAMERA(S) ARRI ALEXA MINI LENSES PANAVISION P�VINTAGE SOUND STEREO LTRT & 5.1 LANGUAGE(S) ENGLISH

1 OVERVIEW One Liner A�er a decade of partying, Laura and Tyler’s friendship is strained when Laura falls in love. But what is really stopping her from fulfilling her dreams? Description

A fierce and unapologe�c celebra�on of female friendship, Animals is an in�mate, funny and bi�ersweet examina�on of the challenges of turning talent into ac�on, and being a modern woman, with faults, longings and compe�ng desires. Short Synopsis

Laura and Tyler have been flatmates and best friends for 10 years, marauding around the streets of , rejec�ng the expecta�ons that bombard modern women and ac�ng purely on desire. For Tyler, this is the best version of life, even with the inevitable hangovers, but when Laura's (younger) sister Jean gets pregnant… on purpose… Laura panics. Should she s�ll be partying into her mid-thir�es? And where has her supposed talent as an aspiring writer got her, apart from notebooks full of scribbles? In an inky-dark bar she meets rising-star pianist Jim, who falls for Laura’s wit and passionate a�tude to life, and the two soon become engaged. Inspired - or maybe in�midated - by teetotaler Jim’s commitment to his work, Laura knuckles down to finish the novel she’s been wri�ng for a decade. Tyler, however, is convinced that marriage is the wrong thing for Laura and that her literary success depends on a life of excess, adventure and - crucially - variety… star�ng with the devilishly handsome Marty. As Laura tries to balance these precarious pieces of her life, she only makes things worse. Can she really have it all? Or is her life of debauchery with Tyler ruining her a�empts to create something meaningful? As Laura struggles to come to grips with what it is that she really wants, she begins to realise that living a life for herself might mean leaving someone else behind.

2 Longer Synopsis

Laura and Tyler have been flatmates for 10 years - best friends marauding around the streets of Dublin, rejec�ng the expecta�ons that bombard a modern woman. It’s about owning their bodies, indulging their desires and rejec�ng the conven�onal in favour of an enlightened life. By enlightened, of course, they mean drinking copiously – and all of the inevitable hangovers that follow - but the important thing is they do it all together. For Tyler, this is the best version of a life-lived-large, figh�ng against a patriarchal system. But when Laura's (younger) sister Jean gets pregnant… on purpose… Laura panics. Should she s�ll be partying into her mid-thir�es? Shouldn’t her talent have meant she has more to show for the last decade than 10 pages of a novel and notebooks full of scribbles? Then, in an inky-dark bar she meets rising-star concert pianist Jim, who falls for Laura’s wit and passionate a�tude to life. Inspired by Jim’s commitment to his work and in�midated by his talent, Laura knuckles down to finish her novel. She’s s�ll partying with Tyler, and dealing with the hangovers round at Jim’s. Truly, she can have it all! Laura and Jim - who is newly, unfathomably, teetotal - soon become engaged. A scandalised Tyler is convinced that marriage is the wrong thing for Laura and that her literary success depends on a life of excess, adventure and - crucially - variety… star�ng with the devilishly handsome Marty, a poetry scholar and self-professed “enabler”, to whom Laura finds herself irresis�bly drawn. As Laura tries to balance these precarious pieces of her life, she only makes things worse - Tyler thinks she’s selling out, Jim thinks she’s selling herself short, and Jean thinks it might be �me for the party to end. Can Laura really have it all? Or is herthat life living of debauchery a life for herself with Tyler ruining her a�empts to create something meaningful? As Laura struggles to come to grips with what it is that she really wants, she begins to realise might mean leaving someone else behind.

3 ,

they brought to these roles and to our process of making, buoys the film and made STATEMENT FROM DIRECTOR my experience working with them s�mula�ng and sa�sfying. They both have excep�onal cra� and they brought to these roles a quality that is remarkable and SOPHIE HYDE refreshing. Tyler is a siren - “the bloodrush of temptation”– a call, and a desire for more. Tyler is horribly consistently caus�c, yet funny and admirable in her truth-telling; someone we’ve all wanted to be at some point, or just wanted to be around. Through Tyler we revel in the party, in the smarts of being an educated woman, in the freedom of being independent. But through Tyler we also recognize that feeling when someone you love is moving away from you, is moving on, falling for someone else and ul�mately, devasta�ngly, leaving you. “I liked the various smells of myself; For this film is also about a woman seeking a new adventure, a future life that fulfills on her poten�al. Her first answer is to look to conven�on, to see the answer I often sat with my head to one side, within marriage, a family, a team, like everything in the world has always taught her nose close to my armpit. I like the to do. And Jim, the man Laura falls for and is going to marry, is a tempta�on of another raw smells of other people, too; in kind. Firstly of pure desire - “Jim. I missed him in a physical way, like a thirst” - and particular scalps, ears, and the also a future self that she can see on the horizon, a possible life. But, is the woman he expects her to be, the one she wants to become? And is she willing to move insides of wristwatches” from one rela�onship to another? Ul�mately the film is about Laura discovering her own work ethic and crea�ve voice, realising that to achieve something in the world will take more than talent. - ANIMALS by Emma Jane Unsworth It’s a film about a 30-something woman confron�ng the idea that she might not follow the path expected of her, or the diametrically opposed path of rejec�on, but striking out on her own for the first �me in her life. Animals, the novel on which the film is based is accessible, funny, and The experience of being a woman, a unconven�onal, and it is grounded in a sense of untethered purpose brewing human-who-is-a-woman, is visceral. inside our central character. This tumult forms the grit of the film - a desire to live It feels like something, it smells like deeply and not succumb to conven�onal expecta�ons of us as women - but also something, and so does passion, and so does to acknowledge our desires for love, our ambi�on as creators and the failure. We are animalis�c, driven by things, but needs that arise from these. It is kine�c and raw; a rom-com about tempered by our culture, by the expecta�ons on us and by two female friends and a portrait of a desiring woman emerging the way we have learned to behave. When I first read Emma’s novel Animals I was from 10 years of partying, to search for her place in the world. struck by this visceral quality that felt familiar and strangely under examined. Emma’s book is an exquisite take on being a modern woman– a woman with faults and longings, a woman with a real-live body and with compe�ng desires. In adap�ng Animals to the screen, it was vital to me that this visceral quality of Emma’s wri�ng be translated – that the women feel like they have real bodies, that their desires are strong, that their animalis�c tendencies are headily presented, and that the compe��on between being animal and being in culture is part of the dynamic of the work. It was a delight to me that Emma was adap�ng her own novel and that she did it with fierce aplomb, a deep sense of collabora�on and a willingness to experiment with how to present the characters and world she created. She is a charming, talented and powerful woman, much like the characters she has put on screen. Animals is a story of self-discovery as told to us by Laura – 32, wi�y, charming, self-confessed lover of people-smells and white wine, of Yeats and MDMA, a notebook jo�ng, people-watching person, des�ned to succeed in her literary aspira�ons - except that 10-years into adulthood, she hasn’t. In fact, she’s hardly even started wri�ng. Oh shit! Laura is a woman caught between desires – between her friend and her lover, between youth and adulthood, between the party and the voca�on, between her old self and her future self. Like the book, the film is celebra�on of female friendship, but it equally examines what it feels like when you grasp too long and hard onto a previous version of yourself. When we become stuck at the party. We set out to make a film that examines the rela�onship between two women - a rela�onship that is o�en undervalued or ignored - and that captured the bi�ersweet feeling that comes with endings, even when you know it’s ok, it’s probably right and it’s possibly even what you want. It’s a celebra�on in the midst of moving on. Laura and Tyler’s rela�onship, between two 30-ish best friends, is the backbone of the film. Holliday and Alia relished in the less-than-squeaky-clean roles and the uncompromising a�tudes of our two characters, their hedonism, their larger-than-life ou�its, their sen�ments and their deeply rooted friendship. They were playful and serious, detail driven and yet somehow free. The enthusias�c relish

4 they brought to these roles and to our process of making, buoys the film and made my experience working with them s�mula�ng and sa�sfying. They both have excep�onal cra� and they brought to these roles a quality that is remarkable and refreshing. Tyler is a siren - “the bloodrush of temptation”– a call, and a desire for more. Tyler is horribly consistently caus�c, yet funny and admirable in her truth-telling; someone we’ve all wanted to be at some point, or just wanted to be around. Through Tyler we revel in the party, in the smarts of being an educated woman, in the freedom of being independent. But through Tyler we also recognize that feeling when someone you love is moving away from you, is moving on, falling for someone else and ul�mately, devasta�ngly, leaving you. For this film is also about a woman seeking a new adventure, a future life that fulfills on her poten�al. Her first answer is to look to conven�on, to see the answer within marriage, a family, a team, like everything in the world has always taught her to do. And Jim, the man Laura falls for and is going to marry, is a tempta�on of another kind. Firstly of pure desire - “Jim. I missed him in a physical way, like a thirst” - and also a future self that she can see on the horizon, a possible life. But, is the woman he expects her to be, the one she wants to become? And is she willing to move from one rela�onship to another? Ul�mately the film is about Laura discovering her own work ethic and crea�ve voice, realising that to achieve something in the world will take more than talent. It’s a film about a 30-something woman confron�ng the idea that she might not follow the path expected of her, or the diametrically opposed path of rejec�on, but striking out on her own for the first �me in her life. Animals, the novel on which the film is based is accessible, funny, and The experience of being a woman, a unconven�onal, and it is grounded in a sense of untethered purpose brewing human-who-is-a-woman, is visceral. inside our central character. This tumult forms the grit of the film - a desire to live It feels like something, it smells like deeply and not succumb to conven�onal expecta�ons of us as women - but also something, and so does passion, and so does to acknowledge our desires for love, our ambi�on as creators and the failure. We are animalis�c, driven by things, but needs that arise from these. It is kine�c and raw; a rom-com about tempered by our culture, by the expecta�ons on us and by two female friends and a portrait of a desiring woman emerging the way we have learned to behave. When I first read Emma’s novel Animals I was from 10 years of partying, to search for her place in the world. struck by this visceral quality that felt familiar and strangely under examined. Emma’s book is an exquisite take on being a modern woman– a woman with faults and longings, a woman with a real-live body and with compe�ng desires. In adap�ng Animals to the screen, it was vital to me that this visceral quality of Emma’s wri�ng be translated – that the women feel like they have real bodies, that their desires are strong, that their animalis�c tendencies are headily presented, and that the compe��on between being animal and being in culture is part of the dynamic of the work. It was a delight to me that Emma was adap�ng her own novel and that she did it with fierce aplomb, a deep sense of collabora�on and a willingness to experiment with how to present the characters and world she created. She is a charming, talented and powerful woman, much like the characters she has put on screen. Animals is a story of self-discovery as told to us by Laura – 32, wi�y, charming, self-confessed lover of people-smells and white wine, of Yeats and MDMA, a notebook jo�ng, people-watching person, des�ned to succeed in her literary aspira�ons - except that 10-years into adulthood, she hasn’t. In fact, she’s hardly even started wri�ng. Oh shit! Laura is a woman caught between desires – between her friend and her lover, between youth and adulthood, between the party and the voca�on, between her old self and her future self. Like the book, the film is celebra�on of female friendship, but it equally examines what it feels like when you grasp too long and hard onto a previous version of yourself. When we become stuck at the party. We set out to make a film that examines the rela�onship between two women - a rela�onship that is o�en undervalued or ignored - and that captured the bi�ersweet feeling that comes with endings, even when you know it’s ok, it’s probably right and it’s possibly even what you want. It’s a celebra�on in the midst of moving on. Laura and Tyler’s rela�onship, between two 30-ish best friends, is the backbone of the film. Holliday and Alia relished in the less-than-squeaky-clean roles and the uncompromising a�tudes of our two characters, their hedonism, their larger-than-life ou�its, their sen�ments and their deeply rooted friendship. They were playful and serious, detail driven and yet somehow free. The enthusias�c relish 5 Statement from screenwriter and novelist, Emma Jane Unsworth

In early 2014, just before the novel was published in May, I met producer Sarah Brocklehurst and was immediately struck by her connec�on to the book and clear affinity with its themes, characters and humour. We quickly found we shared a dream and vision where film that captured the best parts ofAnimals the book: was the concerned. focus on Wefemale wanted friendship to make and a how it could o�en be roman�c, and complex, and tragic, and strange. This was a story that we felt was not being told, as other love stories were so o�en patriarchal narra�ves of women being “sorted out” and only then good enough to deserve to be loved (usually by a man). We wanted to look at the things that women felt pressured to do – and not do – with their bodies at certain ages. We wanted to be brave and show things no one else was showing but that felt like blank spots on the female filmic landscape: hedonis�c recrea�onal drug use and drinking (not addic�on), women enjoying sex purely for pleasure’s sake, the myriad contradic�ons inherent in being fourth-wave feminists. We wanted to make something that people wouldn’t just watch once and then forget about, but a beau�ful movie that really captured the dilemmas of our lives. A bold, fierce, nuanced piece of work, from our guts and hearts.

When we found Sophie Hyde we knew this would be possible. Sophie’s vision for the film instantly chimed with ours. Her mood boards were striking and intui�ve – a real rock n roll aesthe�c, with just the right balance between gri�y and gli�ery, exploring the female gaze on women’s bodies, nakedness, sex and intoxicated craziness. Together, the three of us unravelled the heart

6 of the book and put it back together again, as a script. I worked through “novelist traps” (the things novelists love to do) like voiceover and flashback, towards devices that would work more effec�vely on screen. The other main challenge was to restructure the story arc to tell the story in 100 minutes rather than the �me it takes to read the novel. The feedback we received from the organisa�ons we worked with – including Crea�ve England, Screen Australia, the Irish Film Board – as well as the wonderful script editors Angeli Macfarlane and Ma�hew Cormack, all made this a truly enjoyable and successful collabora�on. It has been an intensive learning curve as a first-�me screenwriter, but it has made me keen to do more screenwri�ng, and so apprecia�ve of the people I have had the chance to work with this �me round. Being in Dublin for the shoot was very surreal and gave me a real insight into the world of movie-making. I wrote addi�onal material while I was on set and stayed for two weeks. I even had a cameo in the final party scene with my best friend Alison, to whom I dedicated the novel. Seeing the edited film for the first �me was a rewarding and thrilling experience. I saw it with Sarah, which felt like closing the circle of us having that first drink together back in 2014. I was astonished at the new heights the story had been taken to – how Sophie had brought forward the choices for women that are so complex and deepened them for all the characters, especially Jean, whose hugeness in the story now is the thing I think that took me most by surprise. The only way I can describe it is I felt like I handed over my baby and met it again as a teenager. Matured, more complex, but everything s�ll there. Ul�mately, it feels exci�ng to be presen�ng a film that riffs on rom com tropes and themes (marriage, wedding dresses, etc) and then turns them on their head and gives women an unexpected, empowering ending that is not perfect but true to the way so many of us live. It was important that Laura s�ll cracks open a bo�le of wine at the end. (I love how Jean downs a glass of wine too in an earlier scene.) This isn’t a cau�onary tale. The ques�ons are s�ll bigger than the answers.

I am so proud of this film. I hope it resonates with a lot of women. I reckon I’ll watch it when I’m 100 with a massive glass of whisky and stand on a table in the old folks’ home and shout: ‘I WAS A PART OF THAT.’

EMMA JANE UNSWORTH OCTOBER 2018

7 THE BOOK

ANIMALS was first published by Canongate in the UK in May 2014, then reprinted as ANIMALSa paperback in June 2015. The book has been published in the USA, Canada, Germany, France and Spain.

Sophie Hyde: “I think that Emma has a really distinct voice. And that voice is about women in the world who are unapologetic about who they are, but that doesn't mean that it's all celebration… she offers us up these characters who we love and want to party with and want to enjoy. She criticizes them at times, and she embraces them at times, and she really offers up that there isn't an easy answer to these things. ”

Shooting in Dublin

Sophie Hyde: “Dublin is a very vibrant city. It's very romantic. It can be quite raw and rough as well. It has a kind of old world and a new world charm all at the same time, and it would be easy to be distracted there. It's very social. And yet, there's this great love of writers and literature. So it was a very perfect city to set our girls' world in because all of those things combine, and there is a history of lauding these great writers and loving the idea of drinking and the party and being in the world in a certain way.” Alia Shawkat: “I love Dublin. I'm so happy that the film ended up here. I think it's a special place. Very special. It feels like a small town that I can't believe I never knew about before. It's like a big city at a small town. And yeah, the Guinness is great, people are nice. It rains a little too much, but makes the sun more worth it.”

Sophie Hyde: “We wanted a dilapidated glamour, to revel in the textures of the Dublin streets and buildings and to luxuriate in the colour of life lived large. I wanted to drip these feelings of longing, of desire, of hedonism out of the frames so that we could taste them as we watch. For me cinematographer Bryan Mason, Production designer Louise The Look Matthews and Costume designer Renate Henscke, rose remarkably to this challenge - they achieved exactly what we set out for - glitter on the feet with dirty toenails, flesh and of ANIMALS bone, sexy, a bit disgusting, gorgeously seductive to look at and roll around inside - the perfect pace for our characters to swim.”

8 The Look of Animals (cont.) Sophie Hyde: “Production designer Louise created Tyler’s apartment within a grand dilapidated building on the North side of Dublin. It’s huge and run down. It was an old school and will eventually be a city library I think. I wanted to avoid a plain white walled apartment, we wanted Laura and Tyler to have an old school glamour, but not neat, everything feels a bit broken but gorgeous. All the Dublin crew – locations manger, line producer, everyone just rallied behind that to support it and Louise and her team built Tyler’s apartment into that building – created the kitchen, brought in the fireplace – they used the beautiful features that existed like the windows, the peeling walls, the floors and heightened them, kept them feeling old and run down but added what we needed for the story. For the cast and crew though, this meant no power or running water, so we relied on generators and the sparks had to cable everything to work. We had portable toilets and it was very hard to stay warm. But it was glorious.”

Foxes, Spiders,Cats

Emma Jane Unsworth: “The concept of animals is a lot to do with questioning our desires and our physicality. And how we align our intellectual understanding of expectations of us, and our politics with carnal physical desires that we have, and all of those wonderful animal parts of us that I think, especially as women we're encouraged to bed down.”

Sophie Hyde: “The animals were always important to me – the tension between physical need/desire and the cultural parts of our lives. The foxes are urban animals, The First they are free but not in the wild. I wanted Laura to find her own freedom that wasn’t about rejecting culture.” Australian/ “During pre-production cinematographer Bryan went on Dublin radio to find people Irish Official who had foxes visiting their homes. There are loads of foxes across Dublin and Bryan and I were interested to film a fox in the city, wildlife photography style. Bryan sat out waiting for foxes for many nights. In the end out foxes were a mix of wild ones found Co-production on the city streets, and one raised by an animal wrangler – but he wasn’t necessarily less wild, we could just get him to the location when we wanted.”

Alia Shawkat: “Being on set with this group, it's one of the best jobs I've been on, for sure. Sophie and Bryan D.P. just really set the tone on the set so well. So even when days are hard and we're cold and there's nothing but cold sandwiches lying around, we're still having such a good time because you get to see the passion ... They want everything to be its best, and they're so kind and giving. And then the crew, the mix of Irish and Australian and British is just such a great group. I'm really gonna miss everybody. Everyone worked so well together. And everyone's really at the top of their game working on this small film, which is my favorite combination. Highly experienced, but intimate.”

Rebecca Summerton: "Animals has brought together talent from all over the world both in front of and behind the camera - it was a set of varied accents and perspectives which was glorious. The project has allowed for collaboration between producers from Australia, Ireland and the UK each contributing our varied skills, knowledge and relationships to package a great team and create a film together. Animals was shot in Dublin and post produced in Adelaide and we're very proud to be the first feature film to be an official co-production between Ireland and Australia."

Sophie Hyde: “One of the things about both Holliday and Alia was that they wanted to put characters on screen who were joyous, fun, alluring, but also flawed. Both of them wanted to show Dir. Sophie us a world where it wasn't one thing or the other. It wasn't the party or the adulthood. It wasn't love or lust. It was all of the elements together. Both Holliday and Alia are a real treat to work with, Hyde On fearless and real.” “The cast were a delight. They all embraced the process and the story, they lept in and I felt they all The Cast just rose to every challenge. Quite simply I adore them.”

9 Holliday Grainger: “The rehearsal room, I've never been so open and honest with people, and feeling so safe as I have done on this film. I have felt like it's kind of made me grow creatively, because you're with people that you respect, and that you understand.” “Sophie sent Alia and I little tasks of writing to each other in character, which I got really into. I ended up in prep spending less time on the script and lines in a way than I would've done. Because I was spending more time just getting immersed into the tasks that Sophie was setting, which was more about relationships between characters and getting to know people. Quite often Sophie would set up a scenario where we would meet... Dermot and I met in character. So Marty met Laura before Holly and Dermot met. And the same kind of over Skype with Fra as The CAST On well. So they'd heard me doing my Dublin accent before they'd heard my own. And then I think there's something really interesting that comes out of that, which is new to me, and quite The PROCESS exciting.” “You work on so many film sets where everything's difficult, and trying to find something difficult feels drawn out but Sophie's perception of reality is just so on point, she just has some innate understanding of the world. It just felt very free and easy being on this film because translating life into film feels like a simple process in the way that Sophie shoots.”

Alia Shawkat: “I looked up Sophie Hyde, the director attached. I watched her film, 52 Tuesdays. You always hope to discover a director who has their own style and uniqueness and kind of a voice you haven't heard before. And so when I saw her film, I was like, "Yeah, I want to work with this woman." And then we Skyped. I remember I was coming from brunch. I had a mimosa, and I was like, "Oh, shit. I have a Skype with somebody. I got to run home." I was kind of tipsy, a bit unprofessional... but it actually ended up working out.” “In the rehearsals with Holliday and Sophie, we discussed a lot of personal memories and relationships we've had with people where you're drawn to this kind of person because they allow you to be yourself. And I think Tyler has that gift, which is super intoxicating. And so discovering her was about thinking of that kind of place, where you feel like you own yourself.”

Fra Fee: “What I loved and what really attracted me to this project was the fact that Jim wasn't being used as a device in the story. It would've been dull to just be the sensible version of life that Laura can lead. But actually he's complicated as well, and he has a sense of history that comes before this story begins. So I just was really keen to get a chance to portray him.” “Working with Holliday is a real treat. She makes it very, very easy to fall in love with Laura every day. She's a fearless actor and that's very, very inspiring to see. I've learned so much from her. And I think what she brings to this story as the narrator, like we see it all through her eyes, it's just spectacular. And she's just a dream of a girl to work with.” “There's been many wonderful experiences on the set. But myself and Holliday, we're doing a scene in the alleyway which comes just after Jim has given this recital, and they get a little too drunk and impassioned, shall we say. And it was meant to be a closed set, so that we have at least a little bit of privacy. But we were doing it in this alleyway and all of a sudden all of the blinds just were open, with lots of people peering through. So we actually had a full audience for that which was, yeah, it was fun.”

Dermot Murphy: “The rehearsal process was so incredibly detailed and thorough and interesting. The way Sophie works is so bizarre because it's like a magpie collecting different things like lyrics from a song, or words from a poem or a book, or images, or memories or whatever that she not just brings to the table, but encourages you to go and look for stuff too. So that was amazing, but it snowed. It was the craziest, like the most snow we've had in Ireland for 10 years or something in the first week of rehearsals. So it was like lockdown, but we still pushed through and worked. So the first day I met Holiday was just a blizzard. It was 12 noon and just got there and drank hot whiskeys. I was like, okay this is gonna be grand. We're gonna be fine.”

10 Women “The people who were making this film are a bunch of amazing strong women Alia Shawkat: who are coming from not only different countries, but different perspectives, different ages, different relationships...all different kinds of experience. And we've come together on this and Driving are all sharing the same ideas and are all challenged by it because being a woman and an artist is about having to be vulnerable and share a lot of yourself all at once.” The

“I guess this project has been so beautiful to be part of because it is, at the Holliday Grainger: helm, it's just run by so many women that are so excited about it! I genuinely feel like excited Story to be working with women that I respect every day, and feeding off each other, and it's rare! And it's just really exciting to be in this conversation, and it does feel like anongoing conversation.”

Sophie Hyde: “There was quite a lot of women on that crew, and we got to have a lot of conversations on that crew that didn't feel divisive; they weren't about men versus women. It was about being responsive to each other, challenging each other, being open to being emotional. Not hiding things. Not pretending that we are perfect. All of those elements were part of our story and part of our film set as well.”

Fra Fee: “It's very rare that you come across a story with two females at the center that are fully realized, fully formed with all the complexities. And not necessarily negative but difficulties of real life. Often, all too often, very frustratingly, they're used asadevice somewhat in stories about normal artists. And this is just women being real people. And that's wonderful. And it's a real treat to finally see. So I think a female layered company and team just seems right for what this story is.”

Friendship

Emma Jane Unsworth: “the heart of the story for me, the main thing that I was trying to do was explore how to put friendship right up there with romantic love and to show how a friendship could be romantic, and to show how friendship could be as durable, and as significant in your life as any love affair.” “I think what I also want to show with this story was that just because a relationship of any kind ends it doesn't make it a failure.”

Holliday Grainger: “Part of the reason that I loved the book, and loved the film is that it's essentially a story about a female friendship…it's really real, and I can see so many of my own friendships within Laura and Tyler's.”

Emma Jane Unsworth: “I wanted to see these women on screen who had real bodies, who did real things, who fucked up sometimes, who had real desire. That was a big thing. How do you present a woman on screen who has genuine desire and that desire fluctuates and changes? And she has competing desires, many desires at the one time.” “The thing that we're always grappling with in the film, is how do we present and love the celebration of female friendship and a life, within a story about letting go of that life? Within a story about saying you sometimes need to move on from the things that you love, and it doesn't make them less lovable.”

11 The Cast On Their Characters

LAURA Holliday Grainger: “I think for Laura at the beginning, her view of creativity is that art and life are mixed. She will live the life of the artist…but there comes a point where, if you're kind of in the same city, going to the same parties, doing the same thing, there's no new experience coming from that.” “But I think what the choices between those different lifestyles are for Laura is that she's seeing where Tyler's going, she's seeing where Jean is going, and it's not about settling down, it's about turning 30, there's nothing mundane about her choice to work. She just wants to put her all into her work, and reach the self-belief that she's always known she could have.”

TYLER Alia Shawkat: “I think if Tyler was describing herself, she would say that she was everything. She's vivacious, entertaining woman who feels comfortable having a lot of attention on her. I think she's a very loyal person…in her mind, indulgence is not anything to look down upon…she wants to eat life and suck the marrow out of it.”

JIM Fra Fee: “Jim is a classical pianist and I think what he does is actually very, important when talking about his character. Because as a classical pianist, he has had to put hours and hours into his skill in order to nurture his talent. And part of the reason why I really respect Jim, and I think possibly anyone that works in this industry or anything that's remotely creative in what you do, is a talent will only get you so far, ultimately. And he makes a decision to actually slow down his life a little bit and take it very seriously. And that's really to be admired, ultimately. And I think that's why Laura falls for him.”

JEAN Holliday Grainger: “We meet Jean at a point when she's moving on from the party, she's moving onto a different chapter, she's moving towards a baby and career and for her that's an adventure in itself. I think Laura seeing at the beginning of the film that her younger sister has started on a new chapter, a new adventure that is so other from anything Laura has thought about yet I think is really impacting on her. The whole idea of the next chapter that Jean is living through is kind of interesting, as much as you then see later in the movie that it's maybe not ... It's like, the realities of the excitement of the new adventure is always kind of pretty hard, and Jean's obviously finding it difficult, and that's the kind of mundane, suburban life that Laura and Tyler are so willing to avoid, you know?”

MARTY Dermot Murphy: “We spoke a lot about the notion of kinship. I think when you have a connection with somebody that can be instant. Sometimes it can happen and I think Marty recognises something of himself in her. Something that he wants…a collection of people that he has. I think if he sees something that he likes, a trait or something attractive or talent he goes for it. He tries to get it. He tries to find it or consume it or something, just be around it. I think Laura's a kindred spirit somewhere in there and he sees it.”

12 BIOGRAPHIES

HOLLIDAY GRAINGER AS “LAURA” Holliday Grainger CAST was born in Didsbury, . She secured her first ac�ng role aged five years old in the BBC comedy drama series All Quiet on the Preston Front. Her extensive screen career to date includes the television produc�ons Bonnie and Clyde , Lady Chatterley’s Lover Strike now in its third season in which she, playsPhilip theK Dick’s role ofElectric Robin Dreams Ellaco�,The and Borgias most , recently , JK Rowling’s Patrick Melrose for SKY and Show�me. Film credits include Tom Harper’s The Scouting Book for Boys Ami, Cary Fukunaga’s , Declan Donnellan’s Jane Eyre, Joe Wright’s Bel Expectations, Lone Scherfig’s Anna Karenina The Riot Club , ’s Great Chadwick’s Tulip Fever , ’s , Craig Gillespie’s Cinderella, Jus�n Rachel, Anthony Lucero’s Halo Of Stars The Finest Hours, Roger Michell’s and Annabel Jankel’s Tell it to the BeesMy Cousin . ALIA SHAWKAT AS “TYLER”

Alia Shawkat’s career began at the age of 11 with her feature film debut as a young Iraqi child in David O. Russell’s Three Kings opposite George Clooney, and she con�nues to establish herself as a highly sought a�er actress in both film and television.

She is well known for her role of “Maeby Funke” on FOX’s Emmy Award winning cult comedy series , and has recently been seen starring in a recurring role on Amazon Studios‘ cri�cally-acclaimed comedy Transparent as well as leading TBS’ breakout hit genre-bending mystery comedy Search Party which premiered at the 2016 SXSW Film Fes�val as part of the Official TV Selec�on category, and was called one of the Best TV Shows of 2016 by Vanity Fair, Vulture and BuzzFeed. Cedar Rapids, Alia’s film credits include ’s debut Whip It, ’s Sebas�an Silva’s Nasty Baby (which she co-produced), Mike Mills’ 20th Century Women, Blaze and Jeremy Saulnier’s Green Room, Amber Tamblyn’s Paint It Black, Ethan Hawke’s the independent film Duck Butter, which she co-wrote with Miguel Arteta and execu�ve produced alongside Arteta and the Duplass Brothers, and for which she won the Best Actress award at the Tribeca Film Fes�val in 2018.

FRA FEE AS “JIM”

Fra was born in , , and read music at the before training at the where he was made an associate in 2014. Les Misérables. Fra is best known for playing Courfeyrac in 's film adapta�on of Most recently he originated the role of Michael Carney in Jez Bu�erworth’s at the & West End, directed by , for which he won the 2018 Whatsonstage Award for Best Suppor�ng Actor in a Play. Fra will be reprising the role for the Broadway produc�on that opens in the Autumn of 2018. The Fix (Union (Theatre Royal Plymouth), The The Wind In The Willows (Lyric Theatre, ), Theatre credits include: My As You Like It (Na�onal Theatre), PuttingRomeo It Together & Juliet (, Dublin), Theatre), (Menier Chocolate Last Five Years (Lyric Theatre, Belfast), Romeo in Candide A Winter’s Tale (Landor Cousin Rachel (Gate Theatre Dublin / Spoleto Fes�val), FAME! (RTE Factory); (Opera de , France); HowardAladdin (Gaiety Goodall’s Theatre, Dublin); (Queens Theatre); Theatre); Les Miserables (Aldwych Theatre). Irish Tour); (BBC NI). (RTE/ PBS) and Heart & Soul Ronan Tynan: The Impossible Dream Television: (Electric Flix). (Honesty INC), Kieran in Monochrome 13 Film: Liam in Troubles

BIOGRAPHIES AMY MOLLOY AS “JEAN”

Amy was born and raised in Belfast, N.Ireland and since gradua�ng has worked extensively across theatres in Ireland, the UK and New York, including BAM Harvey theatre NYC in the hugely successfu l John Gabriel Borkman, with the late Alan Rickman, Fiona Shaw and Lindsay Duncan and made a strong BBC debut in the long-running hit TV show, Call the Midwife, as Phoebe Doyle, in a guest storyline, alongside Killian Sco�, as well as working on the 3rd series of The Fall. Amy collaborated with BIFA award-winning director Yann Demange on the BAFTA nominated thriller ‘71 with Jack O’Connell and Babou Ceesay and more recently workshopped storylines, assis�ng with extensive character development for the mul� award-winning director/producer team, Shane Meadows and Mark Herbert (WARP films). Amy made her debut at the much lauded Public Theater NYC this summer 2018 with award winning actor Stephen Rea (The Crying Game) in the second run of Avenue by David Ireland, a visceral, blacker than black comedy, which originatedCyprus at The Royal Court Theatre in in 2016, directed by Vicky Featherstone and described by The Guardian as “the most shocking play on the London stage”. In 2015, Amy produced and performed in her first one woman play, by Gina Moxley), at the Edinburgh Fringe Fes�val, receiving much praiseTeaSet from (wri�en theatre cri�cs, including Lyn Gardner's top picks in The Guardian na�onal publica�on and The Scotsman.

DERMOT MURPHY AS “MARTY”

Prior to his role in Animals, Dermot filmed the role of Bob Geldof in the biographical drama Bohemian Rhapsody directed by Bryan Singer and Dexter Fletcher. Other recent credits include the role of Aido in I Made This For You, directed by Cris�an Solimeno, and the role of Gabriel in Nick Kelly’s The Drummer & The Keeper which won Best First Feature at the 2017 Galway Film Fleadh. Television work includes the role of S�cks in the Freeform (formerly ABC Family) series Guilt, the role of Liam Madigan in series three of the BBC NI drama 6Degrees and the role of Snowy in the RTÉ drama Clean Break. Further screen appearances include the role of Brian in the popular RTÉ series Raw, the role of Tom Wa�ers in the feature film Black Ice, and the award-winning short No Messages, directed by Cian McGarrigle.

Theatre credits include Lay Me Down Softly , directed by Billy Roche, which was staged in the Tricycle Theatre, London, Eoin Colfer's acclaimed comedy Lords Of Love with A�erhours Theatre Company, Amphibians with Tin Drum Produc�ons, and most recently Decadent Theatre's touring produc�on of The Cavalcaders directed by Andrew Flynn. ,

14 KEY CREATIVES BIOGRAPHIES, PRODUCER SOPHIE HYDE - DIRECTOR 52 Tuesdays (director/producer/co-writer) was set and shot every Tuesday Sophie's debut - fic�on film F*!#ing Adelaide , which she created, for one year and won the direc�ng award in World Cinema Drama�c at Sundance and the Crystal Bear at the Berlin Interna�onal Film Fes�val. Her first episodic series produced and directed screened at Berlin Film Fes�val and Series Mania in 2018 and screened on Australia's ABC1 and iview to glowing reviews. She produced and co-directed the acclaimed feature documentary Life in Movement, winner of the Australian Documentary Prize in 2011 and the Cinedans Jury and Audience prizes. She has been commissioned to make made screen based work for the Na�onalA Field Portrait Gallery, Carriageworks and the Art Gallery of South Australia. She also works as a Producer and believes strongly in nurturing new, the voices. directorial She was debut recently of Tilda mentor Cobham-Hervey and execu�ve which producer won the on shortShut Upfilm Guide to Being A 12-year-old-girl , which both premiered at Crystal Bear at Berlin Film Fes�val this year.and SamShe produced Klemke’s TimeMa� MachineBate’s feature documentaries Little Man! An Audio Misadventure Sundance. She is currently producing a feature documentary by (Gayby Baby) and in will go into produc�on as creator/director of The Hunt, a 4 x 1 hour TV series in 2019. She is a co-founder of film collabora�ve, Closer Produc�ons.

EMMA JANE UNSWORTH - WRITER

Emma Jane Unsworth’s first novel was published in 2011 and won a Be�y Trask Award from the Animals, was published in 2014 and won a Jerwood Fic�on Society of Authors. Her second novel, Animals has been published in the US and Uncovered Prize and was shortlisted for the Por�co Prize. Canada and has been translated into Spanish, French and German. Unsworth adapted the novel into a screenplay and the film, produced by Sarah Brocklehurst Produc�ons, Closer Produc�ons and ,Vico The ) and starring Holliday Grainger ( Films, directed by Sophie Hyde (52 Tuesdays ). Borgias) and Alia Shawkat (Arrested Development, Search Party

Unsworth's next two novels are due to be published by The Borough Press/HarperCollins in summer 2019 and 2020.

Unsworth is also wri�ng for television, with a dramaHappy series Valley about) and a Sarah refuge Brocklehurst for homeless Produc�ons. women currently in development with Red Produc�ons (

As a journalist, she writes regularly for various publica�ons, including Guardian Weekend and The Pool.

SARAH BROCKLEHURST - PRODUCER

Sarah Brocklehurst is a BAFTA-nominated producer, based in London. She was selected as a Screen Star of Tomorrow and is mentored through Guiding Lights by Tessa Ross. Her first feature film Black Pond, directed by Will Sharpe and Tom Kingsley, was nominated for the BAFTA for outstanding debut by Bri�sh writer/director/producer, and also received nomina�ons at the Bri�sh Independent Film Awards, Guardian First Film Award and Raindance Fes�val. The film won the London Comedy Fes�val Discovery Award as well as the Evening Standard Award for Best Newcomers. Sarah originated and produced the screen adapta�on of Emma Jane Unsworth’s novel Animals and con�nues to collaborate with Emma across mul�ple film and television projects, both adapta�ons and new work, including the series Under One Roof, wri�en by Emma Jane Unsworth and Natalie O’Hara, and co-developed with Red Produc�ons. The Sarah Brocklehurst Produc�ons slate is backed by the BFI, BBC Films, Ffilm Cymru Wales and Crea�ve England. www.sarahbrocklehurst.com

15 REBECCA SUMMERTON - PRODUCER 52 Tuesdays which won the Rebecca produced break out low budget feature direc�ng award for World Cinema at Sundance and the Crystal whichBear at premiered Berlinale atas Sam Klemke’s Time Machine well as feature documentary Sundance and in Official Selec�on at HotDocs and Ro�erdam. Rebecca produces across genres and pla�orms. For television,I Want she to has Dance made Better at numerous documentaries includingHannah Dendy Gadsby’s Award-winning Oz. She has made short works in Parties and three-part arts series Stuck in the Middle with You and virtual reality including the ACMI commissioned Sundance selected Summation of Force. Rebecca recently produced the 6-part which premiered at Series Mania and on ABC iView in online series F*!#ing Adelaide 2018. She is currently in post-produc�on on the mul�pla�ormThe Hunt a 4 biblicalx 1 hour heavy drama metal series and in pre-produc�on on sa�re The Book of Darryl for SBS Television. Rebecca is co-owner/director of the mul�-award winning screen produc�on company Closer Produc�ons.

CORMAC FOX – PRODUCER

Cormac Fox established Vico Films with Peter Foo� and Michael Doherty in 2003. Selected as one of SCREEN Interna�onal’s “Future Leaders 2018”, Fox has just wrapped on Berlinale and Sundance-winner Sophie Hyde’s sophomore feature, Animals starring Holliday Grainger (Tulip Fever, My Cousin Rachel) and Alia Shawkat (Arrested Development, Search Party). A graduate of ACE, EAVE and Ireland’s Na�onal Film School, Cormac Fox is a producer on several feature film and television projects including the Irish breakout hit The Young Offenders (2016 – dir. Peter Foo�), A Dark Song (2016 – dir. Liam Gavin), History’s Future (2015 – dir. Fiona Tan), Dark By Noon (2013 – dir. Alan Leonard & Mike O’Flaherty) and King of the Travellers (2012 – dir. Mark O’Connor). His projects have earned the company over two dozen interna�onal awards as well as over a dozen Irish Film and Television Awards and Nomina�ons. 2018 also saw the release of the BBC-commissioned series The Young Offenders which debuted to wide cri�cal acclaim and became one of the most successful UK & Irish TV series in recent years. The team are currently in prep on a Christmas Special of the show for BBC1, shoo�ng September 2018, with a second series to follow in 2019. Cormac is also series producer on RTE’s hit hidden-camera show Senior Moments. Other confirmed projects for 2018 include Cold Courage, an interna�onal crime thrilller series set in London based on the best-selling Nordic novels by Pekka Hiltunen and directed by Agneta Fagerström Olsson (Wallander).

BRYAN MASON – DOP, EDITOR Bryan Mason is a mul�-skilled director of Closer Produc�ons. Bryan is an award winning editor and cinematographer. Bryan shot, edited and produced the widely acclaimed 52 Tuesdays for which he won the Screen Editors of Australia award for best feature. Bryan edited the feature film My Tehran for Sale (TIFF and Pusan film fes�vals 2009) the first Australian/Iranian feature film and feature documentaries Sam Klemke’s Time Machine , which premiered at Sundance in 2015, Embrace, a documentary about body image and Mother With A Gun which premiered interna�onally on Ne�lix. He won an AACTA award for his edi�ng on Sundance selected feature documentary Shut Up Little Man! An Audio Misadventure . He directed, shot and edited documentary Movement, which won the Australian documentary prize at Film Fes�val. He shotLife inand edited the ABC series Fucking Adelaide, as well as actor Tilda Cobham-Hervey’s directorial debut, the drama�sed documentary A Field Guide to Being a 12-Year Old , which won the Crystal Bear for best short film in the Genera�ons K Plus program at Berlinale in 2018.

16 about Closer

ProductionsCloser is an award winning South Australian-based screen company specialising in dis�nc�ve high quality work harnessing unique development and produc�on processes. It operates philosophically as a collabora�ve of ar�sts who push each other to think, create and reach their audience. Closer’s first feature drama 52 Tuesdays won the Direc�ng Award for World Drama�c Compe��on at Sundance Film Fes�val 2014 and the Crystal Bear for Best Film at the Berlinale Interna�onal Film Fes�val. It released theatrically in Australia, New Zealand, USA, UK, Germany, Spain and other territories, won the Australian Writers Guild award for best screenplay and the Australian Editors Guild award for best edi�ng of a feature film. Shut Up Little Man! An Audio Our feature documentaries include underground sensa�on Misadventure, (Sundance, New Directors New Films, and was released in the US through Tribeca Film), Life in Movement (Foxtel Documentary Prize, the Cinedans Grand Jury and (Sundance, Ro�erdam Hot Docs). Audience Awards), and Sam Klemke’s Time Machine Closer has won the SA Screen Awards Best Feature in consecu�ve years and have Shutbeen Up twice nominated for Best Documentary at the Australian Academy awards with Little Man! winning Best Edi�ng. A Field Guide to Being a 12 Year Old Girl, the Shorts include: Berlin Crystal Bear winning 52 Tuesdays directorial debut of Tilda Cobham-Hervey whose first role was in Closer's when she was just 16, dance triptych Necessary Games made with young people with and without a disability; The Mystery of Flying Kicks, a mostly animated doc about sneakers on power lines; Elephantiasis, a dark comedy about a woman who is gi�ed too many elephant trinkets; My Last Ten Hours With You set on the final night of the rela�onship between two a love story with a sci-fi comedy twist. men; and My Best Friend Is Stuck On The Ceiling,

Closer also works in TV, gallery and other spaces. Some TV �tles include six part online F*#!ing Adelaide, the three part arts series Hannah Gadsby’s drama series for ABC iView (Dendy Award, OZ, hybrid dance/drama/documentary I Want to Dance Better at Parties (Crystal Bear Best Short Film, Sydney Film Fes�val), A Field Guide to Being A 12-Year-Old Girl Berlinale) and most recently Art of the Game (Audience Award, Adelaide Film Fes�val). In recent years, Closer has made three Virtual Reality films including one commissioned by ACMI and mul�screen installa�on works for both Carriageworks and Art Gallery of South Australia.

www.closerproduc�ons.com.au

17 about Vico Films

Established in 2004 by Peter Foo�, Cormac Fox and Michael Doherty, Vico Films is one of Ireland’s leading and most dynamic film / TV produc�on companies. The company enjoys strong rela�onships with financiers, broadcasters and content providers including BBC, The Irish Film Board, Ne�lix and and RTÉ. Vico Films’ produc�ons have screened at over one hundred interna�onal fes�vals, winning over thirty awards. The company’s most recent film release, The Young Offenders, was the Irish box-office sensa�on of 2016 grossing almost €1.3million at the Irish box office and went on to receive 8 Irish Film & Television Academy (IFTA) award nomina�ons. In April 2018, the Company wrapped principal photography on the Irish-Australian co-produc�on Animals. Directed by Sundance-and-Berlinale-winner Sophie Hyde (52 Tuesdays) Animals is an unconven�onal female driven comedy starring Holliday Grainger (Tulip Fever, My Cousin Rachel) and Alia Shawkat (Arrested Development, Search Party).

Other projects for 2018 projects include the spin-off TV series of The Young Offenders commissioned by BBC (recipient of 7 IFTA nomina�ons), the London-based crime thriller series Cold Courage based on the award-winning books by Finnish author Pekka Hiltunen, and RTE's hit hidden-camera show, Senior Moments. While con�nuously developing its own original film and TV projects, Vico Films is also keenly invested in building co-produc�on partnerships and con�nues to provide produc�on services for incoming projects. The Company has extensive experience accessing the Irish Tax Credit (Sec�on 481) across both feature film and television produc�ons.

vicofilms.com

18 FULL SCREEN AUSTRALIA SCREEN IRELAND/FÍS ÉIREANN CREDITS CORNERSTONE FILMS SCREEN AUSTRALIA AND SCREEN IRELAND/FÍS ÉIREANN

PRESENT

IN ASSOCIATION WITH HEAD GEAR FILMS, METROL TECHNOLOGY AND KREO FILMS

IN ASSOCIATION WITH ARISTO�INVEST / ARI TOLPPANEN AND M1 CAPITAL / MIKKO LEINO

IN ASSOCIATION WITH AND SOUTH AUSTRALIAN FILM CORPORATION

SARAH BROCKLEHURST PRODUCTIONS

CLOSER PRODUCTIONS

VICO FILMS

HOLLIDAY GRAINGER

ALIA SHAWKAT

EXECUTIVE PRODUCERS PHIL HUNT AND COMPTON ROSS

EXECUTIVE PRODUCERS MIKKO LEINO AND ARI TOLPPANEN

EXECUTIVE PRODUCER FOR SCREEN IRELAND/FÍS ÉIREANN CELINE HADDAD

EXECUTIVE PRODUCERS ALISON THOMPSON AND MARK GOODER

EXECUTIVE PRODUCER JONATHAN PAGE

PRODUCED BY SARAH BROCKLEHURST REBECCA SUMMERTON CORMAC FOX SOPHIE HYDE

SCREENPLAY BY EMMA JANE UNSWORTH BASED ON THE NOVEL BY EMMA JANE UNSWORTH

DIRECTED BY SOPHIE HYDE

‘ANIMALS’

HOLLIDAY GRAINGER

ALIA SHAWKAT

FRA FEE DERMOT MURPHY

19 AMY MOLLOY PRODUCTION TRAINEE COLMAN MAC CIONNAITH ADDITIONAL PROPS TRAINEES DYLAN CASSIDY PRODUCTION ACCOUNTANT IRELAND EVELYN MCLOUGHLIN KWAKU FORTUNE JAKE CULLEN ACCOUNTS ASSISTANT IRELAND EMILY TEBBITT FIRST ASSISTANT DIRECTOR JULES BENOITON DONAL SINNOTT SECTION 481 IRISH TAX INCENTIVE ADVISERS GRANT THORNTON CHIEF EXECUTIVE OFFICER COURTNEY GIBSON WITH OLWEN FOUÉRÉ AND PAT SHORTT SECOND ASSISTANT DIRECTORS ANNA HARRISON ACTION VEHICLES GARY GREENBERY JOHN GLEESON BUSINESS AFFAIRS ALEX HANNELL PATRICIA DENNEHY ACTION VEHICLES CAR SUPPLIER PAUL CULLEN RÓISIN HENEHAN DIRECTOR OF PHOTOGRAPHY THIRD ASSISTANT DIRECTOR STEPHEN FULLER ANIMAL WRANGLER EDDIE DREW SIOBHÁN MCINTYRE BRYAN MASON ADDITIONAL THIRD ASSISTANT DIRECTOR CAROLINE TREACY FIONA YOUNG TRAINEE ASSISTANT DIRECTOR CIARA LONG COSTUME SUPERVISOR NIAMH BUCKLEY SECTION 481 IRISH TAX INCENTIVE AUDITORS GRANT THORNTON DIRECTOR OF MARKETING JOANNE MICHAEL PRODUCTION DESIGNER ADDITIONAL TRAINEE ASSISTANT DIRECTOR CLARE CASSIDY 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COORDINATOR JENNIFER SMYTH VANESSA CARR LONDON ADR MIXER BENJAMIN DARIER ONE YEAR OLD SHIRLEY ZARA O CALLAGHAN CAST CAR GRAHAM MCWILLIAMS LONDON ADR CO�ORDINATOR JACK WHITNEY BRIANNA MOOREHOUSE NETOISABELLE DOLAN ADDITIONAL CAST CAR ROBBIE ROONEY IRISH ADR RECORDING WINDMILL LANE STUDIOS TODDLER SHIRLEY AYSHA CHOI HERNANDEZ MINI BUS DRIVER JOHN NOONAN IRISH ADR SUPERVISOR SINEAD BRADY INVESTMENT MANAGER DANIEL NEGRET MINI BUS DRIVER PREP JOE CLARKE INVESTMENT MANAGER SARA BONAKDAR CREW MUSIC SUPERVISOR KATE DEAN, THE SYNCHOUSE SENIOR INVESTMENT MANAGER MARLON VOGELGESANG PROPS BUYER DEBORAH DAVIS MUSIC CONSULTANT MATTHEW BATE INVESTMENT MANAGER NATALIE COLEMAN STANDBY ART DIRECTOR SARAH HEATH MUSIC EDITOR BRYAN MASON LEGAL SERVICES �UK� CHRISTOS MICHAELS, ANGELA SCURRAH AND ALASTAIR ASSOCIATE PRODUCERS TOM HARBERD ART DEPARTMENT TRAINEE ANNA CARNEY ORIGINAL MUSIC PERFORMED BY JED PALMER, ZOË BARRY AND MAT WATSON MAVOR, LEE & THOMPSON FENELLA ROSS ADDITIONAL ART SET & PROPS TRAINEE EOIN CANTWELL SCORE MIXED BY CHRISTIAN SCALLAN AT THE SOFT CENTRE, LEGAL SERVICES �IRELAND� RUTH HUNTER AND GEMMA FEENEY, MATHESON ELLIOT ROSS ADDITIONAL ART SET TRAINEES SARAH RYAN LEGAL SERVICES �AUSTRALIA� JANINE PEARCE EVA KINE PRODUCTION ACCOUNTANT AUSTRALIA MELANIE WEEKS ASSOCIATE PRODUCER JOHANNA KARPPINEN ANTHONY HODDER ACCOUNTS ASSISTANT AUSTRALIA ASHLEIGH KNOTT PROPS RUNAROUND MICK CASSIDY BETTINA HAMILTON LINE PRODUCER JOHN WALLACE STANDBY PROPS MATTHEW KEARNS TAX ACCOUNTANT AUSTRALIA TONY NAGLE CEO/CREATIVE DIRECTOR AMANDA DUTHIE PRODUCTION CO�ORDINATOR FIONA BONNIE DRESSING PROPS TRAINEE LUKE CULLEN

20 PRODUCTION TRAINEE COLMAN MAC CIONNAITH ADDITIONAL PROPS TRAINEES DYLAN CASSIDY PRODUCTION ACCOUNTANT IRELAND EVELYN MCLOUGHLIN JAKE CULLEN ACCOUNTS ASSISTANT IRELAND EMILY TEBBITT FIRST ASSISTANT DIRECTOR JULES BENOITON DONAL SINNOTT SECTION 481 IRISH TAX INCENTIVE ADVISERS GRANT THORNTON CHIEF EXECUTIVE OFFICER COURTNEY GIBSON SECOND ASSISTANT DIRECTORS ANNA HARRISON ACTION VEHICLES GARY GREENBERY JOHN GLEESON BUSINESS AFFAIRS ALEX HANNELL PATRICIA DENNEHY ACTION VEHICLES CAR SUPPLIER PAUL CULLEN RÓISIN HENEHAN THIRD ASSISTANT DIRECTOR STEPHEN FULLER ANIMAL WRANGLER EDDIE DREW SIOBHÁN MCINTYRE ADDITIONAL THIRD ASSISTANT DIRECTOR CAROLINE TREACY FIONA YOUNG TRAINEE ASSISTANT DIRECTOR CIARA LONG COSTUME SUPERVISOR NIAMH BUCKLEY SECTION 481 IRISH TAX INCENTIVE AUDITORS GRANT THORNTON DIRECTOR OF MARKETING JOANNE MICHAEL ADDITIONAL TRAINEE ASSISTANT DIRECTOR CLARE CASSIDY ASSISTANT DESIGNER & COSTUME ASSISTANT SAILEOG O’HALLORAN DIRECTOR, INTERNATIONAL SALES DAVID CHARLES ADDITIONAL COSTUME ASSISTANT BAIRBE MILNE LEGALS FOR CLOSER PRODUCTIONS JENNY LALOR, LALOR LAW DIRECTOR, INTERNATIONAL SALES CARLA QUARTO DI PALO DIRECTOR’S ATTACHMENT TAMARA HARDMAN COSTUME TRAINEE CIARA COLEMAN GEANEY LEGALS FOR VICO FILMS BRIAN GORMLEY AND AOIFE MCBENNETT, PHILIP LEE PUBLICITY ANNA BOHLIN ASSISTANT TO THE PRODUCER, AUSTRALIA BETTINA HAMILTON ADDITIONAL COSTUME TRAINEE HOLLY O’BRIEN LEGALS FOR SARAH BROCKLEHURST PRODUCTIONS NICK MAHARA, SHERIDANS COLLECTION AGENT SERVICES BY FREEWAY SCRIPT SUPERVISOR CHRISTINE DILWORTH HAIR & MAKE UP DESIGNER TRACY PHILLPOT INSURANCE NATALIE HUNT, GALLAGHER COLLECTION AGENT ANZ SCREENRIGHTS MAKE UP ASSISTANT CHLOE BOURKE DOMESTIC SALES AGENTS UTA INDEPENDENT FILM GROUP SCRIPT EDITORS ANGELI MACFARLANE HAIR ASSISTANT IDA ERIKSSON COMPLETION BOND SERVICES PROVIDED BY FILM FINANCES EMMA MAGER MATTHEW CORMACK PAULA JENSEN CATERING MANAGER DAVID O’CONNOR, THE GOURMET FOOD PARLOUR ALI MOSHREF DUBLIN CONSULTANT SALLY FORAN AMY JING STILLS PHOTOGRAPHER BERNARD WALSH FOCUS PULLER JJ SULLIVAN GRAPHIC DESIGNER RAYNOR PETTGE CLEARANCES BY FILM AND TV CLEARANCE LIMITED DIT & CLAPPER LOADER GOSIA ZUR POST PRODUCTION SCRIPT AND CCSL JEN SMART, WORDS ON TIME CAMERA TRAINEE IVAN MOLONEY EPK SARAH BROCKLEHURST STEADICAM/B�CAMERA OPERATOR ROMAN BUGOVSKIY TAMARA HARDMAN DAVID SCARBOROUGH SOUND RECORDIST JOSH WILLIAMS ASSOCIATE PRODUCER PETER FOOTT BOOM OPERATOR DEAN MURRAY OFFLINE FACILITY CLOSER PRODUCTIONS ASSOCIATE PRODUCER MICHAEL DOHERTY ADDITIONAL 2ND BOOM OPERATOR SIMON MURPHY VFX & TITLES RAYNOR PETTGE DELIVERY SUPERVISOR ASHLEIGH KNOTT GAFFER DARRAGH SCOTT ASSEMBLY EDITOR DAVID SCARBOROUGH BEST BOY PAUL KIERNAN ASSOCIATE PRODUCER BRYAN MASON POST PRODUCTION FACILITY KOJO ASSOCIATEPRODUCER MATTHEW BATE ADDITIONAL ELECTRICIANS ENDA DOHERTY POST PRODUCTION PRODUCER ELENE PEPPER SCRIPT CONSULTANT MATTHEW VESELY BRIAN O’SHAUGHNESSY POST PRODUCTION CO�ORDINATOR GEORGINA CUNNINGHAM ACCOUNTANT CLAIRE DATSON PRACTICAL SPARKS DAILY DONAL COGGINS DI COLOURIST MARTY PEPPER TAYLOR KAVANAGH DI ASSISTANT SURIYNA SIVASHANKER ONLINE EDITOR JADE ROBINSON GRIP PADDY TREANOR DATA MANAGER SCOTT HEYSEN INVESTMENT MANAGER LISA DUFF DEVELOPMENT EXECUTIVE LOUISE GOUGH LOCATION MANAGER DAVID O’MARA SOUND POST FACILITY ADELAIDE STUDIOS LAWYER MADELEINE ENFIELD LOCATION ASSISTANT MANAGER BILLY O’MARA SOUND DESIGNER EMMA BORTIGNON CO�PRODUCTION MANAGER COLLEEN CHAMP ADDITIONAL LOCATION SCOUTING MICK SWAN SOUND EDITORS ADRIAN MEDHURST SIMON WALBROOK HEALTH & SAFETY OFFICER JOHN WILSON FOLEY ARTIST ADRIAN MEDHURST FOLEY RECORDIST & EDITOR DUNCAN CAMPBELL CHIEF EXECUTIVE JAMES HICKEY CASTING ASSISTANT MICHELLE GIOVANNI RE�RECORDING MIXERS PETE SMITH DEPUTY CHIEF EXECUTIVE TERESA MCGRANE EXTRAS CASTING PATRICIA DENNEHY ADRIAN MEDHURST BUSINESS AFFAIRS MANAGER CIAN MCELHONE SARAH HARTE ADDITIONAL SOUND EFFECTS RECORDING PATRICK DOWNEY PRODUCTION AND DISTRIBUTION MANAGER EMMA SCOTT EXTRAS PROVIDED BY MOVIEEXTRAS.IE BUSINESS AFFAIRS EXECUTIVE AILEEN MCCAULEY NOT ANOTHER AGENCY LONDON ADR RECORDING SNK STUDIOS PRODUCTION AND DEVELOPMENT COORDINATOR JENNIFER SMYTH LONDON ADR MIXER BENJAMIN DARIER CAST CAR GRAHAM MCWILLIAMS LONDON ADR CO�ORDINATOR JACK WHITNEY ADDITIONAL CAST CAR ROBBIE ROONEY IRISH ADR RECORDING WINDMILL LANE STUDIOS MINI BUS DRIVER JOHN NOONAN IRISH ADR SUPERVISOR SINEAD BRADY INVESTMENT MANAGER DANIEL NEGRET MINI BUS DRIVER PREP JOE CLARKE INVESTMENT MANAGER SARA BONAKDAR MUSIC SUPERVISOR KATE DEAN, THE SYNCHOUSE SENIOR INVESTMENT MANAGER MARLON VOGELGESANG PROPS BUYER DEBORAH DAVIS MUSIC CONSULTANT MATTHEW BATE INVESTMENT MANAGER NATALIE COLEMAN STANDBY ART DIRECTOR SARAH HEATH MUSIC EDITOR BRYAN MASON LEGAL SERVICES �UK� CHRISTOS MICHAELS, ANGELA SCURRAH AND ALASTAIR ASSOCIATE PRODUCERS TOM HARBERD ART DEPARTMENT TRAINEE ANNA CARNEY ORIGINAL MUSIC PERFORMED BY JED PALMER, ZOË BARRY AND MAT WATSON MAVOR, LEE & THOMPSON FENELLA ROSS ADDITIONAL ART SET & PROPS TRAINEE EOIN CANTWELL SCORE MIXED BY CHRISTIAN SCALLAN AT THE SOFT CENTRE, MELBOURNE LEGAL SERVICES �IRELAND� RUTH HUNTER AND GEMMA FEENEY, MATHESON ELLIOT ROSS ADDITIONAL ART SET TRAINEES SARAH RYAN LEGAL SERVICES �AUSTRALIA� JANINE PEARCE EVA KINE PRODUCTION ACCOUNTANT AUSTRALIA MELANIE WEEKS ASSOCIATE PRODUCER JOHANNA KARPPINEN ANTHONY HODDER ACCOUNTS ASSISTANT AUSTRALIA ASHLEIGH KNOTT PROPS RUNAROUND MICK CASSIDY BETTINA HAMILTON LINE PRODUCER JOHN WALLACE STANDBY PROPS MATTHEW KEARNS TAX ACCOUNTANT AUSTRALIA TONY NAGLE CEO/CREATIVE DIRECTOR AMANDA DUTHIE PRODUCTION CO�ORDINATOR FIONA BONNIE DRESSING PROPS TRAINEE LUKE CULLEN

21 PRODUCTION TRAINEE COLMAN MAC CIONNAITH ADDITIONAL PROPS TRAINEES DYLAN CASSIDY PRODUCTION ACCOUNTANT IRELAND EVELYN MCLOUGHLIN JAKE CULLEN ACCOUNTS ASSISTANT IRELAND EMILY TEBBITT FIRST ASSISTANT DIRECTOR JULES BENOITON DONAL SINNOTT SECTION 481 IRISH TAX INCENTIVE ADVISERS GRANT THORNTON CHIEF EXECUTIVE OFFICER COURTNEY GIBSON SECOND ASSISTANT DIRECTORS ANNA HARRISON ACTION VEHICLES GARY GREENBERY JOHN GLEESON BUSINESS AFFAIRS ALEX HANNELL PATRICIA DENNEHY ACTION VEHICLES CAR SUPPLIER PAUL CULLEN RÓISIN HENEHAN THIRD ASSISTANT DIRECTOR STEPHEN FULLER ANIMAL WRANGLER EDDIE DREW SIOBHÁN MCINTYRE ADDITIONAL THIRD ASSISTANT DIRECTOR CAROLINE TREACY FIONA YOUNG TRAINEE ASSISTANT DIRECTOR CIARA LONG COSTUME SUPERVISOR NIAMH BUCKLEY SECTION 481 IRISH TAX INCENTIVE AUDITORS GRANT THORNTON DIRECTOR OF MARKETING JOANNE MICHAEL ADDITIONAL TRAINEE ASSISTANT DIRECTOR CLARE CASSIDY ASSISTANT DESIGNER & COSTUME ASSISTANT SAILEOG O’HALLORAN DIRECTOR, INTERNATIONAL SALES DAVID CHARLES ADDITIONAL COSTUME ASSISTANT BAIRBE MILNE LEGALS FOR CLOSER PRODUCTIONS JENNY LALOR, LALOR LAW DIRECTOR, INTERNATIONAL SALES CARLA QUARTO DI PALO DIRECTOR’S ATTACHMENT TAMARA HARDMAN COSTUME TRAINEE CIARA COLEMAN GEANEY LEGALS FOR VICO FILMS BRIAN GORMLEY AND AOIFE MCBENNETT, PHILIP LEE PUBLICITY ANNA BOHLIN ASSISTANT TO THE PRODUCER, AUSTRALIA BETTINA HAMILTON ADDITIONAL COSTUME TRAINEE HOLLY O’BRIEN LEGALS FOR SARAH BROCKLEHURST PRODUCTIONS NICK MAHARA, SHERIDANS COLLECTION AGENT SERVICES BY FREEWAY SCRIPT SUPERVISOR CHRISTINE DILWORTH HAIR & MAKE UP DESIGNER TRACY PHILLPOT INSURANCE NATALIE HUNT, GALLAGHER COLLECTION AGENT ANZ SCREENRIGHTS MAKE UP ASSISTANT CHLOE BOURKE DOMESTIC SALES AGENTS UTA INDEPENDENT FILM GROUP SCRIPT EDITORS ANGELI MACFARLANE HAIR ASSISTANT IDA ERIKSSON COMPLETION BOND SERVICES PROVIDED BY FILM FINANCES EMMA MAGER MATTHEW CORMACK PAULA JENSEN CATERING MANAGER DAVID O’CONNOR, THE GOURMET FOOD PARLOUR ALI MOSHREF DUBLIN CONSULTANT SALLY FORAN AMY JING STILLS PHOTOGRAPHER BERNARD WALSH FOCUS PULLER JJ SULLIVAN GRAPHIC DESIGNER RAYNOR PETTGE CLEARANCES BY FILM AND TV CLEARANCE LIMITED DIT & CLAPPER LOADER GOSIA ZUR POST PRODUCTION SCRIPT AND CCSL JEN SMART, WORDS ON TIME CAMERA TRAINEE IVAN MOLONEY EPK SARAH BROCKLEHURST STEADICAM/B�CAMERA OPERATOR ROMAN BUGOVSKIY TAMARA HARDMAN DAVID SCARBOROUGH SOUND RECORDIST JOSH WILLIAMS ASSOCIATE PRODUCER PETER FOOTT BOOM OPERATOR DEAN MURRAY OFFLINE FACILITY CLOSER PRODUCTIONS ASSOCIATE PRODUCER MICHAEL DOHERTY ADDITIONAL 2ND BOOM OPERATOR SIMON MURPHY VFX & TITLES RAYNOR PETTGE DELIVERY SUPERVISOR ASHLEIGH KNOTT GAFFER DARRAGH SCOTT ASSEMBLY EDITOR DAVID SCARBOROUGH BEST BOY PAUL KIERNAN ASSOCIATE PRODUCER BRYAN MASON POST PRODUCTION FACILITY KOJO ASSOCIATEPRODUCER MATTHEW BATE ADDITIONAL ELECTRICIANS ENDA DOHERTY POST PRODUCTION PRODUCER ELENE PEPPER SCRIPT CONSULTANT MATTHEW VESELY BRIAN O’SHAUGHNESSY POST PRODUCTION CO�ORDINATOR GEORGINA CUNNINGHAM ACCOUNTANT CLAIRE DATSON PRACTICAL SPARKS DAILY DONAL COGGINS DI COLOURIST MARTY PEPPER TAYLOR KAVANAGH DI ASSISTANT SURIYNA SIVASHANKER ONLINE EDITOR JADE ROBINSON GRIP PADDY TREANOR DATA MANAGER SCOTT HEYSEN INVESTMENT MANAGER LISA DUFF DEVELOPMENT EXECUTIVE LOUISE GOUGH LOCATION MANAGER DAVID O’MARA SOUND POST FACILITY ADELAIDE STUDIOS LAWYER MADELEINE ENFIELD LOCATION ASSISTANT MANAGER BILLY O’MARA SOUND DESIGNER EMMA BORTIGNON CO�PRODUCTION MANAGER COLLEEN CHAMP ADDITIONAL LOCATION SCOUTING MICK SWAN SOUND EDITORS ADRIAN MEDHURST SIMON WALBROOK HEALTH & SAFETY OFFICER JOHN WILSON FOLEY ARTIST ADRIAN MEDHURST FOLEY RECORDIST & EDITOR DUNCAN CAMPBELL CHIEF EXECUTIVE JAMES HICKEY CASTING ASSISTANT MICHELLE GIOVANNI RE�RECORDING MIXERS PETE SMITH DEPUTY CHIEF EXECUTIVE TERESA MCGRANE EXTRAS CASTING PATRICIA DENNEHY ADRIAN MEDHURST BUSINESS AFFAIRS MANAGER CIAN MCELHONE SARAH HARTE ADDITIONAL SOUND EFFECTS RECORDING PATRICK DOWNEY PRODUCTION AND DISTRIBUTION MANAGER EMMA SCOTT EXTRAS PROVIDED BY MOVIEEXTRAS.IE BUSINESS AFFAIRS EXECUTIVE AILEEN MCCAULEY NOT ANOTHER AGENCY LONDON ADR RECORDING SNK STUDIOS PRODUCTION AND DEVELOPMENT COORDINATOR JENNIFER SMYTH LONDON ADR MIXER BENJAMIN DARIER CAST CAR GRAHAM MCWILLIAMS LONDON ADR CO�ORDINATOR JACK WHITNEY ADDITIONAL CAST CAR ROBBIE ROONEY IRISH ADR RECORDING WINDMILL LANE STUDIOS MINI BUS DRIVER JOHN NOONAN IRISH ADR SUPERVISOR SINEAD BRADY INVESTMENT MANAGER DANIEL NEGRET MINI BUS DRIVER PREP JOE CLARKE INVESTMENT MANAGER SARA BONAKDAR MUSIC SUPERVISOR KATE DEAN, THE SYNCHOUSE SENIOR INVESTMENT MANAGER MARLON VOGELGESANG PROPS BUYER DEBORAH DAVIS MUSIC CONSULTANT MATTHEW BATE INVESTMENT MANAGER NATALIE COLEMAN STANDBY ART DIRECTOR SARAH HEATH MUSIC EDITOR BRYAN MASON LEGAL SERVICES �UK� CHRISTOS MICHAELS, ANGELA SCURRAH AND ALASTAIR ASSOCIATE PRODUCERS TOM HARBERD ART DEPARTMENT TRAINEE ANNA CARNEY ORIGINAL MUSIC PERFORMED BY JED PALMER, ZOË BARRY AND MAT WATSON MAVOR, LEE & THOMPSON FENELLA ROSS ADDITIONAL ART SET & PROPS TRAINEE EOIN CANTWELL SCORE MIXED BY CHRISTIAN SCALLAN AT THE SOFT CENTRE, MELBOURNE LEGAL SERVICES �IRELAND� RUTH HUNTER AND GEMMA FEENEY, MATHESON ELLIOT ROSS ADDITIONAL ART SET TRAINEES SARAH RYAN LEGAL SERVICES �AUSTRALIA� JANINE PEARCE EVA KINE PRODUCTION ACCOUNTANT AUSTRALIA MELANIE WEEKS ASSOCIATE PRODUCER JOHANNA KARPPINEN ANTHONY HODDER ACCOUNTS ASSISTANT AUSTRALIA ASHLEIGH KNOTT PROPS RUNAROUND MICK CASSIDY BETTINA HAMILTON LINE PRODUCER JOHN WALLACE STANDBY PROPS MATTHEW KEARNS TAX ACCOUNTANT AUSTRALIA TONY NAGLE CEO/CREATIVE DIRECTOR AMANDA DUTHIE PRODUCTION CO�ORDINATOR FIONA BONNIE DRESSING PROPS TRAINEE LUKE CULLEN

22 PRODUCTION TRAINEE COLMAN MAC CIONNAITH ADDITIONAL PROPS TRAINEES DYLAN CASSIDY PRODUCTION ACCOUNTANT IRELAND EVELYN MCLOUGHLIN JAKE CULLEN ACCOUNTS ASSISTANT IRELAND EMILY TEBBITT FIRST ASSISTANT DIRECTOR JULES BENOITON DONAL SINNOTT SECTION 481 IRISH TAX INCENTIVE ADVISERS GRANT THORNTON CHIEF EXECUTIVE OFFICER COURTNEY GIBSON SECOND ASSISTANT DIRECTORS ANNA HARRISON ACTION VEHICLES GARY GREENBERY JOHN GLEESON BUSINESS AFFAIRS ALEX HANNELL PATRICIA DENNEHY ACTION VEHICLES CAR SUPPLIER PAUL CULLEN RÓISIN HENEHAN THIRD ASSISTANT DIRECTOR STEPHEN FULLER ANIMAL WRANGLER EDDIE DREW SIOBHÁN MCINTYRE ADDITIONAL THIRD ASSISTANT DIRECTOR CAROLINE TREACY FIONA YOUNG TRAINEE ASSISTANT DIRECTOR CIARA LONG COSTUME SUPERVISOR NIAMH BUCKLEY SECTION 481 IRISH TAX INCENTIVE AUDITORS GRANT THORNTON DIRECTOR OF MARKETING JOANNE MICHAEL ADDITIONAL TRAINEE ASSISTANT DIRECTOR CLARE CASSIDY ASSISTANT DESIGNER & COSTUME ASSISTANT SAILEOG O’HALLORAN DIRECTOR, INTERNATIONAL SALES DAVID CHARLES ADDITIONAL COSTUME ASSISTANT BAIRBE MILNE LEGALS FOR CLOSER PRODUCTIONS JENNY LALOR, LALOR LAW DIRECTOR, INTERNATIONAL SALES CARLA QUARTO DI PALO DIRECTOR’S ATTACHMENT TAMARA HARDMAN COSTUME TRAINEE CIARA COLEMAN GEANEY LEGALS FOR VICO FILMS BRIAN GORMLEY AND AOIFE MCBENNETT, PHILIP LEE PUBLICITY ANNA BOHLIN ASSISTANT TO THE PRODUCER, AUSTRALIA BETTINA HAMILTON ADDITIONAL COSTUME TRAINEE HOLLY O’BRIEN LEGALS FOR SARAH BROCKLEHURST PRODUCTIONS NICK MAHARA, SHERIDANS COLLECTION AGENT SERVICES BY FREEWAY SCRIPT SUPERVISOR CHRISTINE DILWORTH HAIR & MAKE UP DESIGNER TRACY PHILLPOT INSURANCE NATALIE HUNT, GALLAGHER COLLECTION AGENT ANZ SCREENRIGHTS MAKE UP ASSISTANT CHLOE BOURKE DOMESTIC SALES AGENTS UTA INDEPENDENT FILM GROUP SCRIPT EDITORS ANGELI MACFARLANE HAIR ASSISTANT IDA ERIKSSON COMPLETION BOND SERVICES PROVIDED BY FILM FINANCES EMMA MAGER MATTHEW CORMACK PAULA JENSEN CATERING MANAGER DAVID O’CONNOR, THE GOURMET FOOD PARLOUR ALI MOSHREF DUBLIN CONSULTANT SALLY FORAN AMY JING STILLS PHOTOGRAPHER BERNARD WALSH FOCUS PULLER JJ SULLIVAN GRAPHIC DESIGNER RAYNOR PETTGE CLEARANCES BY FILM AND TV CLEARANCE LIMITED DIT & CLAPPER LOADER GOSIA ZUR POST PRODUCTION SCRIPT AND CCSL JEN SMART, WORDS ON TIME CAMERA TRAINEE IVAN MOLONEY EPK SARAH BROCKLEHURST STEADICAM/B�CAMERA OPERATOR ROMAN BUGOVSKIY TAMARA HARDMAN FOR VICO FILMS DAVID SCARBOROUGH SOUND RECORDIST JOSH WILLIAMS ASSOCIATE PRODUCER PETER FOOTT BOOM OPERATOR DEAN MURRAY OFFLINE FACILITY CLOSER PRODUCTIONS ASSOCIATE PRODUCER MICHAEL DOHERTY ADDITIONAL 2ND BOOM OPERATOR SIMON MURPHY VFX & TITLES RAYNOR PETTGE DELIVERY SUPERVISOR ASHLEIGH KNOTT FOR CLOSER PRODUCTIONS GAFFER DARRAGH SCOTT ASSEMBLY EDITOR DAVID SCARBOROUGH BEST BOY PAUL KIERNAN ASSOCIATE PRODUCER BRYAN MASON POST PRODUCTION FACILITY KOJO ASSOCIATEPRODUCER MATTHEW BATE ADDITIONAL ELECTRICIANS ENDA DOHERTY POST PRODUCTION PRODUCER ELENE PEPPER SCRIPT CONSULTANT MATTHEW VESELY BRIAN O’SHAUGHNESSY POST PRODUCTION CO�ORDINATOR GEORGINA CUNNINGHAM ACCOUNTANT CLAIRE DATSON PRACTICAL SPARKS DAILY DONAL COGGINS DI COLOURIST MARTY PEPPER TAYLOR KAVANAGH DI ASSISTANT SURIYNA SIVASHANKER FOR SCREEN AUSTRALIA ONLINE EDITOR JADE ROBINSON GRIP PADDY TREANOR DATA MANAGER SCOTT HEYSEN INVESTMENT MANAGER LISA DUFF DEVELOPMENT EXECUTIVE LOUISE GOUGH LOCATION MANAGER DAVID O’MARA SOUND POST FACILITY ADELAIDE STUDIOS LAWYER MADELEINE ENFIELD LOCATION ASSISTANT MANAGER BILLY O’MARA SOUND DESIGNER EMMA BORTIGNON CO�PRODUCTION MANAGER COLLEEN CHAMP ADDITIONAL LOCATION SCOUTING MICK SWAN SOUND EDITORS ADRIAN MEDHURST SIMON WALBROOK FOR SCREEN IRELAND/FÍS ÉIREANN HEALTH & SAFETY OFFICER JOHN WILSON FOLEY ARTIST ADRIAN MEDHURST FOLEY RECORDIST & EDITOR DUNCAN CAMPBELL CHIEF EXECUTIVE JAMES HICKEY CASTING ASSISTANT MICHELLE GIOVANNI RE�RECORDING MIXERS PETE SMITH DEPUTY CHIEF EXECUTIVE TERESA MCGRANE EXTRAS CASTING PATRICIA DENNEHY ADRIAN MEDHURST BUSINESS AFFAIRS MANAGER CIAN MCELHONE SARAH HARTE ADDITIONAL SOUND EFFECTS RECORDING PATRICK DOWNEY PRODUCTION AND DISTRIBUTION MANAGER EMMA SCOTT EXTRAS PROVIDED BY MOVIEEXTRAS.IE BUSINESS AFFAIRS EXECUTIVE AILEEN MCCAULEY NOT ANOTHER AGENCY LONDON ADR RECORDING SNK STUDIOS PRODUCTION AND DEVELOPMENT COORDINATOR JENNIFER SMYTH LONDON ADR MIXER BENJAMIN DARIER CAST CAR GRAHAM MCWILLIAMS LONDON ADR CO�ORDINATOR JACK WHITNEY FOR HEAD GEAR ADDITIONAL CAST CAR ROBBIE ROONEY IRISH ADR RECORDING WINDMILL LANE STUDIOS MINI BUS DRIVER JOHN NOONAN IRISH ADR SUPERVISOR SINEAD BRADY INVESTMENT MANAGER DANIEL NEGRET MINI BUS DRIVER PREP JOE CLARKE INVESTMENT MANAGER SARA BONAKDAR MUSIC SUPERVISOR KATE DEAN, THE SYNCHOUSE SENIOR INVESTMENT MANAGER MARLON VOGELGESANG PROPS BUYER DEBORAH DAVIS MUSIC CONSULTANT MATTHEW BATE INVESTMENT MANAGER NATALIE COLEMAN STANDBY ART DIRECTOR SARAH HEATH MUSIC EDITOR BRYAN MASON LEGAL SERVICES �UK� CHRISTOS MICHAELS, ANGELA SCURRAH AND ALASTAIR ASSOCIATE PRODUCERS TOM HARBERD ART DEPARTMENT TRAINEE ANNA CARNEY ORIGINAL MUSIC PERFORMED BY JED PALMER, ZOË BARRY AND MAT WATSON MAVOR, LEE & THOMPSON FENELLA ROSS ADDITIONAL ART SET & PROPS TRAINEE EOIN CANTWELL SCORE MIXED BY CHRISTIAN SCALLAN AT THE SOFT CENTRE, MELBOURNE LEGAL SERVICES �IRELAND� RUTH HUNTER AND GEMMA FEENEY, MATHESON ELLIOT ROSS ADDITIONAL ART SET TRAINEES SARAH RYAN LEGAL SERVICES �AUSTRALIA� JANINE PEARCE EVA KINE PRODUCTION ACCOUNTANT AUSTRALIA MELANIE WEEKS ASSOCIATE PRODUCER JOHANNA KARPPINEN ANTHONY HODDER ACCOUNTS ASSISTANT AUSTRALIA ASHLEIGH KNOTT FOR ADELAIDE FILM FESTIVAL PROPS RUNAROUND MICK CASSIDY BETTINA HAMILTON LINE PRODUCER JOHN WALLACE STANDBY PROPS MATTHEW KEARNS TAX ACCOUNTANT AUSTRALIA TONY NAGLE CEO/CREATIVE DIRECTOR AMANDA DUTHIE PRODUCTION CO�ORDINATOR FIONA BONNIE DRESSING PROPS TRAINEE LUKE CULLEN

23 PRODUCTION TRAINEE COLMAN MAC CIONNAITH ADDITIONAL PROPS TRAINEES DYLAN CASSIDY PRODUCTION ACCOUNTANT IRELAND EVELYN MCLOUGHLIN JAKE CULLEN ACCOUNTS ASSISTANT IRELAND EMILY TEBBITT FIRST ASSISTANT DIRECTOR JULES BENOITON DONAL SINNOTT SECTION 481 IRISH TAX INCENTIVE ADVISERS GRANT THORNTON CHIEF EXECUTIVE OFFICER COURTNEY GIBSON SECOND ASSISTANT DIRECTORS ANNA HARRISON ACTION VEHICLES GARY GREENBERY JOHN GLEESON BUSINESS AFFAIRS ALEX HANNELL PATRICIA DENNEHY ACTION VEHICLES CAR SUPPLIER PAUL CULLEN RÓISIN HENEHAN THIRD ASSISTANT DIRECTOR STEPHEN FULLER ANIMAL WRANGLER EDDIE DREW SIOBHÁN MCINTYRE INTERNATIONAL SALES BY CORNERSTONE FILMS ADDITIONAL THIRD ASSISTANT DIRECTOR CAROLINE TREACY FIONA YOUNG TRAINEE ASSISTANT DIRECTOR CIARA LONG COSTUME SUPERVISOR NIAMH BUCKLEY SECTION 481 IRISH TAX INCENTIVE AUDITORS GRANT THORNTON DIRECTOR OF MARKETING JOANNE MICHAEL ADDITIONAL TRAINEE ASSISTANT DIRECTOR CLARE CASSIDY ASSISTANT DESIGNER & COSTUME ASSISTANT SAILEOG O’HALLORAN DIRECTOR, INTERNATIONAL SALES DAVID CHARLES ADDITIONAL COSTUME ASSISTANT BAIRBE MILNE LEGALS FOR CLOSER PRODUCTIONS JENNY LALOR, LALOR LAW DIRECTOR, INTERNATIONAL SALES CARLA QUARTO DI PALO DIRECTOR’S ATTACHMENT TAMARA HARDMAN COSTUME TRAINEE CIARA COLEMAN GEANEY LEGALS FOR VICO FILMS BRIAN GORMLEY AND AOIFE MCBENNETT, PHILIP LEE PUBLICITY ANNA BOHLIN ASSISTANT TO THE PRODUCER, AUSTRALIA BETTINA HAMILTON ADDITIONAL COSTUME TRAINEE HOLLY O’BRIEN LEGALS FOR SARAH BROCKLEHURST PRODUCTIONS NICK MAHARA, SHERIDANS COLLECTION AGENT SERVICES BY FREEWAY SCRIPT SUPERVISOR CHRISTINE DILWORTH HAIR & MAKE UP DESIGNER TRACY PHILLPOT INSURANCE NATALIE HUNT, GALLAGHER COLLECTION AGENT ANZ SCREENRIGHTS MAKE UP ASSISTANT CHLOE BOURKE DOMESTIC SALES AGENTS UTA INDEPENDENT FILM GROUP SCRIPT EDITORS ANGELI MACFARLANE HAIR ASSISTANT IDA ERIKSSON COMPLETION BOND SERVICES PROVIDED BY FILM FINANCES EMMA MAGER MATTHEW CORMACK PAULA JENSEN ''AND THE DAYS ARE NOT FULL ENOUGH'' BY EZRA POUND, FROM PERSONAE CATERING MANAGER DAVID O’CONNOR, THE GOURMET FOOD PARLOUR ALI MOSHREF COPYRIGHT ©1926 BY EZRA POUNDUSE BY PERMISSION OF NEW DIRECTIONS PUBLISHING CORP. DUBLIN CONSULTANT SALLY FORAN AMY JING ANIMALS PRODUCTIONS DAC WISHES TO THANK THE SOCIETY OF AUTHORS STILLS PHOTOGRAPHER BERNARD WALSH AS LITERARY REPRESENTATIVE OF THE ESTATE OF WB YEATS FOCUS PULLER JJ SULLIVAN GRAPHIC DESIGNER RAYNOR PETTGE CLEARANCES BY FILM AND TV CLEARANCE LIMITED DIT & CLAPPER LOADER GOSIA ZUR POST PRODUCTION SCRIPT AND CCSL JEN SMART, WORDS ON TIME SPIDER WEB FOOTAGE USED UNDER LICENSE FROM SHUTTERSTOCK.COM CAMERA TRAINEE IVAN MOLONEY EPK SARAH BROCKLEHURST �DMITRIYLO/SHUTTERSTOCK.COM AND NL67/SHUTTERSTOCK.COM� STEADICAM/B�CAMERA OPERATOR ROMAN BUGOVSKIY TAMARA HARDMAN DAVID SCARBOROUGH “BOYS WANNA BE HER” “SO SO” SOUND RECORDIST JOSH WILLIAMS ASSOCIATE PRODUCER PETER FOOTT WRITTEN BY MERRILL NISKER WRITTEN BY REILLY / WYNNE / CURLEY / SUMMONS �OTHERKIN� BOOM OPERATOR DEAN MURRAY OFFLINE FACILITY CLOSER PRODUCTIONS ASSOCIATE PRODUCER MICHAEL DOHERTY © PUBLISHED BY I U SHE MUSIC GMBH PUBLISHED BY EVOLVING MUSIC COMPANY ADDITIONAL 2ND BOOM OPERATOR SIMON MURPHY 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PRODUCTION MUSIC COURTESY OF APRA AMCOS AND AUDIO NETWORK

SPECIAL THANK YOU TO GAIL EGAN

THANK YOU TO

THE ABBEY COSTUME HIRE, BADLY MADE BOOKS, EMMA BAXTER, COLM BASSETT, BABAA, RACHEL BURKE, THE BRIDAL OUTLET, DENISE BROCKLEHURST, MICHAEL BROCKLEHURST, TIM CARTER, CAPULET AND MONTAGUE, EVA CONROY, DAVID COLLINS, LYNN DALY AT DUBLIN CITY COUNCIL, DEREK DOFF, DAVID DOYLE, SANJIT DHILLON, DAMIEN DONATO, EMMA DUTTON, STEVE FANAGAN, FROCK ME OUT, SAM FOX, JENNIE, CHARLOTTE, ANNABELLE & TRISTAN FOX, MARKKU FLINK, AIDAN GAULT, RIOGHNACH NI GHRIOGHAIR, ALEX GREEN, LUCY HALFHEAD, ANDREW HICKMAN, JOHN HIGGINS, BEATRIX HOLLAND, ALICE HYDE, JIM HYDE, IRISH FILM FACILITIES, IADT PRODUCTION DESIGN STUDENTS, DANIEL JACOBSON, CHRISTINE JAMES, PADDY JORDAN, SARAH KAPADIA, ANASTASIA KNOX, SIOBHAN LAVENDER, CHELSEA LEWIS, CARLA LIPPIS, LILLIPUT STORES, DAVE LONG, AUDREY MASON�HYDE, GERARD MATHEWS, SHANE MATHEWS, GREG MARSH, LILA O'DONNELL, ELLA LAYLA & IGGY MARSH, LESLEY MCKIMM, RUA MEEGAN, JANET MIDDLETON, HANNAH AND DANICA MOORS, TESS MORRIS, CANDICE NOBLE, LIZ NOWELL, PAUL NELSON, PHOEBE NIMANIS, KORTIN NORRIS, ELIZA OBERY, CONOR O’CARROLL, EOIN O’FAOLAIN, AINE O’NEILL, HOLLY OWEN, PANAVISION, PILLOW QUEENS, GEMMA PANNELL, TIM PHILLIPS, MEREDITH ROTHMAN, SANDIA JEWELLERY, JJ ROLFE, SMENA, BEC SMITH, GRACE SMITH, GABRIELLA SMART, ANNABELLE SHEEHAN, FRANCES STEVENSON, ALISON TAYLOR, TEAM FX, TISSUE, SORACHA PELAN Ó TREASAIGH, FRANK AND LORRAINE UNSWORTH, LUCIE UNSWORTH, CATHAL WATTERS, TIM WHITE, IAN WILLIAMS, LEONARD FOX UNSWORTH WILLIAMS, SARAH WORMALD, WYVERN LINGO, JO YAO, CAMILLA YOUNG

25 PRODUCED AND FILMED IN DUBLIN, IRELAND

POST PRODUCED IN SOUTH AUSTRALIA

PRODUCED WITH THE SUPPORT OF INVESTMENT INCENTIVES FOR THE IRISH FILM INDUSTRY PROVIDED BY THE GOVERNMENT OF IRELAND AND FILMED ON LOCATION IN IRELAND

THE PRODUCERS ACKNOWLEDGE THE SUPPORT OF THE AUSTRALIAN GOVERNMENT THROUGH THE PRODUCER OFFSET AND SCREEN AUSTRALIA.

“AN IRELAND�AUSTRALIA CO�PRODUCTION UNDER THE FILMS CO�PRODUCTION AGREEMENT BETWEEN THE GOVERNMENT OF AUSTRALIA AND THE GOVERNMENT OF IRELAND”

DEVELOPED WITH THE SUPPORT OF CREATIVE ENGLAND VIA THE BFI NET.WORK �CREATIVE ENGLAND AND BFI NETWORK LOGO�

FINANCED WITH THE ASSISTANCE OF THE SOUTH AUSTRALIAN FILM CORPORATION

PRODUCED WITH THE ASSISTANCE OF ADELAIDE FILM FESTIVAL

FINANCED WITH THE ASSISTANCE OF SCREEN IRELAND/FÍS ÉIREANN

DEVELOPED WITH THE ASSISTANCE OF AND PRINCIPAL INVESTOR

© CLOSER PRODUCTIONS, VICO PICTURE AND SOUND, SCREEN AUSTRALIA, ADELAIDE FILM FESTIVAL 2018

26 CONTACT

INTERNATIONAL SALES

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